Count Basie One O'Clock Jump From film "Reveille with Beverly" Advertisement �One O'Clock Jump� � written by Count Basie in 1937 � would become his orchestra's theme song, and for five decades the band would use it as a closer. Fascinatingly, its original � and quite blue � title was �Blue Ball,� but in order to get radio play they acquiesced to a watered-down name. Also appearing in this film were Frank Sinatra, Bing Crosby and Duke Ellington. Please share your favorite JazzontheTube.com videos with your friends and colleagues That's how we grow. One O'Clock Jump - Count Basie | Song Info | AllMusic One O'Clock Jump google+ Song Review by Bruce Eder If there was a single number that big band musicians and fans alike considered virtually an anthem for the swing era, it was "One O'Clock Jump" by Count Basie & His Orchestra.

The composition, usually done as an instrumental, embodied everything that was striking about the big jazz-based orchestras that called the tune in popular music in the second half of the 1930s: Basie's spare yet deceptively complex introduction on the piano, accompanied by guitar and drums, is a lead-in for the tenor sax (Herschel Evans), trombone (George Hunt), another tenor (Lester Young), and a trumpet (Buck Clayton), which brings in the whole reed section backed by the trombones and their loping punctuation, to a finish that was supposed to have everyone off their feet. Basie's name ended up on the copyright, but alto saxophonist Buster Smith and arranger Eddie Durham likely wrote it (under the title "Blue Balls"). Whatever the origins, "One O'Clock Jump" was recorded by the Basie band for Decca Records on July 7, 1937, and on hearing it later that summer, audiences simply took it as an invitation to dance; and, as this was the era in which dancing was what one did when listening to jazz, "One O'Clock Jump" spread like wildfire.

It became Basie's signature tune, which is one reason why it shows up on dozens of radio transcriptions and live Basie recordings from across Basie's career, but seldom appears complete -- usually only the first 30 or 40 seconds of the song are played, to introduce the band, because that was all that was needed. Benny Goodman also gave "One O'Clock Jump" a huge boost by adding it to his repertory, most visibly at the legendary January 16, 1938, Carnegie Hall concert where it was considered a highlight of a performance that was etched in history the moment it was played (Basie himself was standing in the wings that night, and played in the jam session that followed later in the program); and it was no accident that the number was depicted as being a key part of the Goodman repertory when Hollywood filmed The Benny Goodman Story.

No less a figure than Glenn Miller, who was at no loss for solid repertory late in 1939, also featured "One O'Clock Jump" in a version with words, at his October 6, 1939, Carnegie Hall performance, and it entered the repertory of Harry James and dozens of other jazz notables. In 1942, it was still fresh enough that Basie felt compelled to re-cut it in a slightly smoother, breezier version, giving more play to the band and less to his piano, with his then-current band in January of 1942 for the OKeh label, with Don Byas and Buddy Tate featured on tenor saxes; a film clip of this version of the Basie band performing "One O'Clock Jump" also exists, and appears virtually complete on the Toby Byron/Matthew Seig documentary Swingin' the Blues: Count Basie (BMG Video).

It was in the Basie repertory longer than almost any other number, right into the 1960s and 1970s, transformed somewhat with each change in the Basie band; he re-cut it for every label he ever recorded for except RCA-Victor, and it remains one of the most familiar and enduring of all swing era compositions. Appears On One O'Clock Jump by Count Basie and His Orchestra on Apple Music 17 Songs Album Review This recording could be considered a near-sibling to April in Paris, since several of its tracks date from sessions recorded the same month. Others overlap with material cut for The Greatest!! Count Basie Plays, Joe Williams Sings Standards, and aren't as compelling, either as Joe Williams vehicles or Basie showcases.

As either of those, though, it does have its moments, most notably the original finale, arranger Ernie Wilkins' "From Coast to Coast," an eight-and-a-half-minute blow-out, the Ella Fitzgerald-Joe Williams duet on "Too Close for Comfort," and the title track, rearranged by Wilkins but close to the classic rendering, which features lively solos by Frank Wess, Benny Powell, Frank Foster, and (especially) Joe Newman and Henry Coker. Williams is the dominant presence on the album, singing on seven of the original ten tracks, and his presence is a bit of a drag on some of the proceedings, especially "Only Forever." His work with Basie from this era is better represented on Count Basie Swings, Joe Williams Sings, although he and the band acquit themselves very well here on "Stop, Pretty Baby, Stop," where all hands are firing on all cylinders at once. Top Albums and Songs by Count Basie and His Orchestra 1.

Jazz Standards Songs and Instrumentals (One O'clock Jump) Joel Whitburn's Pop Memories 1890-1954 William ï¿½Countï¿½ Basie formed his first band, Basieï¿½s Barons of Swing, in Kansas City in 1935. A veteran of the popular Kansas City band led by Bennie Moten , Basie assembled his first group following Motenï¿½s death, utilizing a number of Motenï¿½s sidemen. The band soon found steady employment at K.C.ï¿½s Reno Club. In the excellent book Kansas City Jazz: From Ragtime to Bebop--A History by Frank Driggs and Chuck Haddix, the authors quote a 1936 Downbeat article written by Dave Dexter, who described an evening at the Reno. Dexterï¿½s opinion of the band was that it ï¿½needed seasoningï¿½ but had a lot to offer.

He wasnï¿½t so keen on the Reno, which he described as ï¿½a diveï¿½ and ï¿½one of the townï¿½s most unsavory holes.ï¿½ More on Count Basie at JazzBiographies.com Nevertheless, an advantage of the Reno was a connection to experimental radio station W9XBY, which broadcast the band live from the club. One night the band played a riff tune based on a 12-bar blues, which had been ï¿½arrangedï¿½ by Basie and alto saxophonist Buster Smith . It was titled ï¿½Blue Balls.ï¿½ The radio announcer asked if the band would play the tune but said he couldnï¿½t use that title on the air.

He suggested, since it was nearing one a.m., ï¿½One Oï¿½clock Jump.ï¿½ The title stuck, and not only did the now-forgotten announcer dream up the tuneï¿½s title, he was the first to call Basie ï¿½Count.ï¿½ Due to these radio broadcasts the band was heard throughout the country, and efforts by fans like promoter John Hammond and writer Dave Dexter started the ball rolling for the groupï¿½s eventual trip to New York and stardom. Although alto saxophonist Buster Smith had been an integral part of the band and creator of many of the bandï¿½s arrangements, he stayed in Kansas City, missing out on the chance of a lifetime and composer credit for ï¿½One Oï¿½clock Jump.ï¿½ Basie adopted the tune for his theme song, and the earliest recorded radio performance of the band, a broadcast from June 1937, closes with the tune.

The number spawned two follow-up arrangements: ï¿½Two Oï¿½clock Jump,ï¿½ recorded by Harry James in 1939, and the ï¿½One Oï¿½clock Boogieï¿½ which Basie recorded in 1947 and which hit the charts that year. In 1945 Lee Gaines , a vocalist in with the Delta Rhythm Boys, wrote lyrics to Basieï¿½s tune, one of the earliest examples of what has come to be known as ï¿½vocalese,ï¿½ words sung to what were the originally improvised jazz solos. One O'Clock Jump - Count Basie (1943) - YouTube One O'Clock Jump - Count Basie (1943) Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Uploaded on Apr 4, 2009 Classic Count Basie and the One O'Clock Jump from the Columbia film, "Reveille with Beverly." Category 'One O'Clock Jump' : NPR 'One O'Clock Jump' Embed Embed Embed Embed As performed by the Count Basie Orchestra Reporter: Tom Vitale Interviewees: Phil Schapp, jazz history professor Albert Murray, author Recordings Used: One O'Clock Jump, the Count Basie Orchestra Six or Seven Times, the Count Basie Orchestra Count Basie performs at the Royal Festival Hall in London. He and his band are embarking on a tour of Britain, and this is their first venue. Ron Case/Getty Images hide caption toggle caption Ron Case/Getty Images Count Basie performs at the Royal Festival Hall in London. He and his band are embarking on a tour of Britain, and this is their first venue. Ron Case/Getty Images Count Basie was born on this day in 1904. He was a musical pioneer shaping the sound of jazz and swing, first in Kansas City and then later in New York. He headed one of the most celebrated big bands in history, the Count Basie Orchestra.

The band's theme song was "One O'Clock Jump," which Basie played in thousands of performances over most of his career. By the time Count Basie and his band went into the recording studio on July 7th, 1937, they'd already made a handful of records, but "One O'Clock Jump" was the tune that caught on with the public. Phil Schapp teaches jazz history at Princeton University. "It's the record that announces that the Basie Band has arrived," Mr. Schapp explains, "that their message of the way swing is phrased in Kansas City, Missouri, has been synthesized to a big band context which was the norm of the period and now had been perfected. Count Basie arrived in New York at the end of 1936 with a 15-piece orchestra. On June 29th, 1937, the Basie Band opened for the first time at New York's premier dance hall, the Savoy Ballroom in Harlem. Alto saxophonist Earl Warren led the reed section. In 1983, after a 1 AM performance, Warren remembered that first gig at the Savoy.

Article continues after sponsorship "We got into Savoy, but we had already acclaimed ourself as the finest swing band in the land, never mind the king of swing. That was some jive. We were the kings, and therefore, we were really in demand for the Savoy, because when we went into the Savoy, you couldn't get in there. You just couldn't get in there, man. It was just one of the most fantastic things you ever saw in your life. Boy, I used to come out of there wringing wet all the time, all the time, because when we got up on that bandstand, we blew." Earl Warren died in 1984. All the other members of that original Basie Orchestra are gone as well, but their sound is very much alive in the memory of 84-year-old Albert Murray who heard them on 1930s radio broadcasts while he was a student at Tuskegee University. Murray, who co-authored Basie's autobiography, says what set that band apart was that the musicians took the Missouri blues and made it swing, propelled by a rhythm section with the drive and precision of a steam locomotive.

" In Kansas City in the Southwest, in that whole area out there, they particularly called that music, you know, stomps, shouts and that particular element of the blues idiom; that is, the whole context of the blues, whole down-home context of the blues which goes back to the locomotive that underlies the guy strolling with the guitar: chugga, chugga, chugga, chugga. Hey, Count Basie played that train whistle all of his life. And I was telling him about it. I said, `Man, you ever play bom, bom.' I mean, he'd play a train bell going out and saying bom, bom, chu, chu, bom, bom, bom, chu, chu, chu, bom, chu and wow, wap, wap, talk about'—it's a train whistle. Like he's stylizing everyday experience and your everyday surroundings. And the basis of blues and jazz seniority was the locomotive, the locomotive beat." And like just about every bandleader in those days, Murray says, Basie took credit for the songs written by members of his group. "But when you did something, it belonged to the bandleader.

If you turned it in, they recorded it or published it, it would (unintelligible) in those days, you see? So it was a case of the jazz musicians saying, `OK. What do you want? You want 50 percent of a hundred dollars or 100 percent of nothing?'" The main theme of "One O'Clock Jump" was lifted by Basie alto player Buster Smith from a 1929 Fats Waller tune called "Six or Seven Times." Smith and Eddie Durham arranged a series of repeated phrases or riffs leading up to the "Six or Seven Times" theme. Basie adopted "One O'Clock Jump" as his signature theme. He recorded it many times and played it at the end of every performance for almost half a century. "I played "One O'Clock Jump," yeah, about 5,100 times in my entire career," says Basie's arranger, tenor player, and eventual bandleader Frank foster. But he says he never got tired of performing it.

Foster says the most remarkable aspect of "One O'Clock Jump" is its riff structure, a series of simple 12-bar phrases that gather intensity as the tune moves forward. "There were at least five different riffs. You know, there was one riff of saxophones used behind the trombone solo. Another riff the trumpets used behind the saxophone solo. And another ensemble chorus which consisted of about three different riffs: the saxophone section doing one, the trombones doing another, and the trumpets doing another one. The trombones already been saying, `Dah, bye,' while the trumpet said, `Bedi, di, di, di, di,' and the saxophone was saying, `Ba, dada, did, did.' And they'd combine the whole thing, and all the riffs overlapped and blended with each other to make an entire ensemble chord." "One O'Clock Jump" originally had a different title. Co-arranger Eddie Durham called it "Blue Ball"(ph) but the musicians in the band referred to the tune with a more scatological variation.

When the band began performing at Kansas City's Reno Club in 1935 where their set was broadcast by a local radio station, the title became a problem, says historian Phil Schapp. " The radio announcer, confronted with what Count Basie said, `We're going to play "Blue Ball,"' says, `I don't know about that. I don't think I can say that on the air.' And because of the air time connection being near 1:00 in the morning, they called it the 'One O'Clock Jump.'" "One O'Clock Jump" became a huge hit that had an impact on all of the big bands. Benny Goodman and Duke Ellington recorded their own versions, and the song's driving Kansas City four-four rhythm became one of the hallmarks of swing. For NPR News, I'm Tom Vitale in New York. "One O'Clock Jump" with the Sonoran Serenade Big Band @ "The Nash" - YouTube "One O'Clock Jump" with the Sonoran Serenade Big Band @ "The Nash" Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content.

Rating is available when the video has been rented. This feature is not available right now. Please try again later. Published on Apr 17, 2014 "One O'Clock Jump" is a jazz standard, a 12-bar blues instrumental, written by Count Basie in 1937, with arrangements by Eddie Durham and Buster Smith. The original 1937 recording of the tune by Basie and his band is noted for the saxophone work of Herschel Evans and Lester Young, trumpet by Buck Clayton, Walter Page on bass and Basie himself on piano. "One O'Clock Jump" became the theme song of the Count Basie Orchestra. They used it to close each of their concerts for the next half century. It was reportedly entitled "Blue Ball" at first but a radio announcer feared that title was too risqué. Later, "One O'Clock Jump" was to be listed in the Songs of the Century.

Category Count Basie | American musician | Britannica.com American musician Miles Davis Count Basie, byname of William Basie (born August 21, 1904, Red Bank, New Jersey , U.S.—died April 26, 1984, Hollywood , Florida ), American jazz musician noted for his spare, economical piano style and for his leadership of influential and widely heralded big bands . Count Basie, 1969. Ron Joy/Globe Photos Basie studied music with his mother and was later influenced by the Harlem pianists James P. Johnson and Fats Waller , receiving informal tutelage on the organ from the latter. He began his professional career as an accompanist on the vaudeville circuit. Stranded in Kansas City , Missouri, in 1927, Basie remained there and eventually (in 1935) assumed the leadership of a nine-piece band composed of former members of the Walter Page and Bennie Moten orchestras.

One night, while the band was broadcasting on a shortwave radio station in Kansas City, he was dubbed “Count” Basie by a radio announcer who wanted to indicate his standing in a class with aristocrats of jazz such as Duke Ellington . Jazz critic and record producer John Hammond heard the broadcasts and promptly launched the band on its career. Though rooted in the riff style of the 1930s swing-era big bands, the Basie orchestra played with the forceful drive and carefree swing of a small combo. They were considered a model for ensemble rhythmic conception and tonal balance—this despite the fact that most of Basie’s sidemen in the 1930s were poor sight readers; mostly, the band relied on “head” arrangements (so called because the band had collectively composed and memorized them, rather than using sheet music). The early Basie band was also noted for its legendary soloists and outstanding rhythm section. It featured such jazzmen as tenor saxophonists Lester Young (regarded by many as the premier tenor player in jazz history) and Herschel Evans, trumpeters Buck Clayton and Harry “Sweets” Edison, and trombonists Benny Morton and Dicky Wells .

The legendary Billie Holiday was a vocalist with Basie for a short stint (1937–38), although she was unable to record with the band because of her contract with another record label; mostly, vocals were handled by Jimmy Rushing , one of the most renowned “blues bawlers.” The rhythm unit for the band—pianist Basie, guitarist Freddie Green (who joined the Basie band in 1937 and stayed for 50 years), bassist Walter Page , and drummer Jo Jones —was unique in its lightness, precision, and relaxation, becoming the precursor for modern jazz accompanying styles. Basie began his career as a stride pianist, reflecting the influence of Johnson and Waller, but the style most associated with him was characterized by spareness and precision. Whereas other pianists were noted for technical flash and dazzling dexterity , Basie was known for his use of silence and for reducing his solo passages to the minimum amount of notes required for maximum emotional and rhythmic effect. As one Basie band member put it, “Count don’t do nothin’.

But it sure sounds good.” Britannica Stories ” and “ One O’Clock Jump, ” the band’s biggest hit and theme song. It had continued success throughout the war years, but, like all big bands, it had declined in popularity by the end of the 1940s. During 1950 and ’51, economy forced Basie to front an octet, the only period in his career in which he did not lead a big band. In 1952 increased demand for personal appearances allowed Basie to form a new orchestra that in many ways was as highly praised as his bands of the 1930s and ’40s. (Fans distinguish the two major eras in Basie bands as the “Old Testament” and “New Testament.”) The Basie orchestra of the 1950s was a slick, professional unit that was expert at sight reading and demanding arrangements. Outstanding soloists such as tenor saxophonists Lucky Thompson , Paul Quinichette, and Eddie “Lockjaw” Davis and trumpeters Clark Terry and Charlie Shavers, figured prominently.

Singer Joe Williams , whose authoritative , blues-influenced vocals can be heard on hit recordings such as “ Every Day I Have the Blues ” and “ Alright, Okay, You Win, ” was also a major component in the band’s success. Arrangers Neal Hefti, Buster Harding, and Ernie Wilkins defined the new band’s sound on recordings such as “ Li’l Darlin’, The Kid from Red Bank, ” “ Music: Fact or Fiction? The 1950s band showcased the sound and style Basie was to employ for the remainder of his career, although there were to be occasional—and successful—experiments such as Afrique (1970), an album of African rhythms and avant-garde compositions that still managed to remain faithful to the overall Basie sound. Throughout the 1960s, Basie’s recordings were often uninspired and marred by poor choice of material, but he remained an exceptional concert performer and made fine records with singers Ella Fitzgerald , Sarah Vaughan , and Frank Sinatra . When jazz record producer Norman Granz formed his Pablo label in the 1970s, several established jazz artists, including Basie, signed on in order to record unfettered by commercial demands.

Basie benefited greatly from his association with Granz and made several recordings during the ’70s that rank among his best work. He recorded less often with his big band during this era (although when he did, the results were outstanding), concentrating instead on small-group and piano-duet recordings. Especially noteworthy were the albums featuring the duo of Basie and Oscar Peterson , with Basie’s economy and Peterson’s dexterous virtuosity proving an effective study in contrasts. Many of Basie’s albums of the ’70s were Grammy Award winners or nominees. Britannica Lists & Quizzes Count Basie | Biography & History | AllMusic google+ Artist Biography by William Ruhlmann Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died. Basie 's orchestra was characterized by a light, swinging rhythm section that he led from the piano, lively ensemble work, and generous soloing. Basie was not a composer like Duke Ellington or an important soloist like Benny Goodman .

His instrument was his band, which was considered the epitome of swing and became broadly influential on jazz. Both of Basie 's parents were musicians; his father, Harvie Basie, played the mellophone, and his mother, Lillian (Childs) Basie, was a pianist who gave her son his earliest lessons. Basie also learned from Harlem stride pianists, particularly Fats Waller . His first professional work came accompanying vaudeville performers, and he was part of a troupe that broke up in Kansas City in 1927, leaving him stranded there. He stayed in the Midwestern city, at first working in a silent movie house and then joining Walter Page 's Blue Devils in July 1928. The band's vocalist was Jimmy Rushing . Basie left in early 1929 to play with other bands, eventually settling into one led by Bennie Moten . Upon Moten 's untimely death on April 2, 1935, Basie worked as a soloist before leading a band initially called the Barons of Rhythm.

Many former members of the Moten band joined this nine-piece outfit, among them Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), and Lester Young (tenor saxophone). Jimmy Rushing became the singer. The band gained a residency at the Reno Club in Kansas City and began broadcasting on the radio, an announcer dubbing the pianist "Count" Basie . Basie got his big break when one of his broadcasts was heard by journalist and record producer John Hammond , who touted him to agents and record companies. As a result, the band was able to leave Kansas City in the fall of 1936 and take up an engagement at the Grand Terrace in Chicago, followed by a date in Buffalo, NY, before coming into Roseland in New York City in December. It made its recording debut on Decca Records in January 1937. Undergoing expansion and personnel changes, it returned to Chicago, then to the Ritz Carlton Hotel in Boston. Meanwhile, its recording of "One O'Clock Jump" became its first chart entry in September 1937. The tune became the band's theme song and it was later inducted into the Grammy Hall of Fame.

Basie returned to New York for an extended engagement at the small club the Famous Door in 1938 that really established the band as a success. "Stop Beatin' Round the Mulberry Bush," with Rushing on vocals, became a Top Ten hit in the fall of 1938. Basie spent the first half of 1939 in Chicago, meanwhile switching from Decca to Columbia Records, then went to the West Coast in the fall. He spent the early '40s touring extensively, but after the U.S. entry into World War II in December 1941 and the onset of the recording ban in August 1942, his travel was restricted. While on the West Coast, he and the band appeared in five films, all released within a matter of months in 1943: Hit Parade of 1943, Reveille with Beverly, Stage Door Canteen, Top Man, and Crazy House.

He also scored a series of Top Ten hits on the pop and R&B charts, including "I Didn't Know About You" (pop, winter 1945); "Red Bank Blues" (R&B, winter 1945); "Rusty Dusty Blues" (R&B, spring 1945); "Jimmy's Blues" (pop and R&B, summer/fall 1945); and "Blue Skies" (pop, summer 1946). Switching to RCA Victor Records, he topped the charts in February 1947 with "Open the Door, Richard!," followed by three more Top Ten pop hits in 1947: "Free Eats," "One O'Clock Boogie," and "I Ain't Mad at You (You Ain't Mad at Me)." The big bands' decline in popularity in the late '40s hit Basie as it did his peers, and he broke up his orchestra at the end of the decade, opting to lead smaller units for the next couple of years. But he was able to reform the big band in 1952, responding to increased opportunities for touring.

For example, he went overseas for the first time to play in Scandinavia in 1954, and thereafter international touring played a large part in his schedule. An important addition to the band in late 1954 was vocalist Joe Williams . The orchestra was re-established commercially by the 1955 album Count Basie Swings - Joe Williams Sings (released on Clef Records), particularly by the single "Every Day (I Have the Blues)," which reached the Top Five of the R&B charts and was later inducted into the Grammy Hall of Fame. Another key recording of this period was an instrumental reading of "April in Paris" that made the pop Top 40 and the R&B Top Ten in early 1956; it also was enshrined in the Grammy Hall of Fame. These hits made what Albert Murray (co-author of Basie 's autobiography, Good Morning Blues) called the "new testament" edition of the Basie band a major success. Williams remained with Basie until 1960, and even after his departure, the band continued to prosper.

At the first Grammy Awards ceremony, Basie won the 1958 awards for Best Performance by a Dance Band and Best Jazz Performance, Group, for his Roulette Records LP Basie . Breakfast Dance and Barbecue was nominated in the dance band category for 1959, and Basie won in the category in 1960 for Dance with Basie , earning nominations the same year for Best Performance by an Orchestra and Best Jazz Performance, Large Group, for The Count Basie Story . There were further nominations for best jazz performance for Basie at Birdland in 1961 and The Legend in 1962. None of these albums attracted much commercial attention, however, and in 1962, Basie switched to Frank Sinatra 's Reprise Records in a bid to sell more records. Sinatra-Basie satisfied that desire, reaching the Top Five in early 1963. It was followed by This Time by Basie! Hits of the 50's and 60's , which reached the Top 20 and won the 1963 Grammy Award for Best Performance by an Orchestra for Dancing.

This initiated a period largely deplored by jazz fans that ran through the rest of the 1960s, when Basie teamed with various vocalists for a series of chart albums including Ella Fitzgerald ( Ella and Basie! , 1963); Sinatra again (the Top 20 album It Might as Well Be Swing , 1964); Sammy Davis, Jr . ( Our Shining Hour , 1965); the Mills Brothers ( The Board of Directors , 1968); and Jackie Wilson ( Manufacturers of Soul , 1968). He also reached the charts with an album of show tunes, Broadway Basie's ... Way (1966). By the end of the 1960s, Basie had returned to more of a jazz format. His album Standing Ovation earned a 1969 Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group (Eight or More), and in 1970, with Oliver Nelson as arranger/conductor, he recorded Afrique , an experimental, avant-garde album that earned a 1971 Grammy nomination for Best Jazz Performance by a Big Band.

By this time, the band performed largely on the jazz festival circuit and on cruise ships. In the early 1970s, after a series of short-term affiliations, Basie signed to Pablo Records, with which he recorded for the rest of his life. Pablo recorded Basie prolifically in a variety of settings, resulting in a series of well-received albums: Basie Jam earned a 1975 Grammy nomination for Best Jazz Performance by a Group; Basie and Zoot was nominated in the same category in 1976 and won the Grammy for Best Jazz Performance by a Soloist; Prime Time won the 1977 Grammy for Best Jazz Performance by a Big Band; and The Gifted Ones by Basie and Dizzy Gillespie was nominated for a 1979 Grammy for Best Jazz Instrumental Performance by a Group.

Thereafter, Basie competed in the category of Best Jazz Instrumental Performance by a Big Band, winning the Grammy in 1980 for On the Road and in 1982 for Warm Breeze , earning a nomination for Farmer's Market Barbecue in 1983, and winning a final time, for his ninth career Grammy, in 1984 for 88 Basie Street . Basie 's health gradually deteriorated during the last eight years of his life. He suffered a heart attack in 1976 that put him out of commission for several months. He was back in the hospital in 1981, and when he returned to action, he was driving an electric wheel chair onto the stage. He died of cancer at 79. Count Basie was admired as much by musicians as by listeners, and he displayed a remarkable consistency in a bandleading career that lasted long after swing became an archival style of music. After his death, his was one of the livelier ghost bands, led in turn by Thad Jones , Frank Foster , and Grover Mitchell .

His lengthy career resulted in a large discography spread across all of the major labels and quite a few minor ones as well. Count Basie - IMDb IMDb Soundtrack | Music Department | Actor The famed composer ("One O'Clock Jump", "Two O'Clock Jump", "Jumpin' at the Woodside"), pianist, songwriter and bandleader began as an accompanist to vaudeville acts. He joined the Bennie Moten orchestra in Kansas City, later organizing his own orchestra and performing on radio. In 1936 he came to New York, appearing in hotels, night clubs, ... See full bio » Born: a list of 211 people created 18 Jul 2012 a list of 44 people created 21 Aug 2015 a list of 1112 people created 12 Sep 2015 a list of 19 images created 03 Dec 2015 a list of 200 people created 8 months ago Do you have a demo reel? Add it to your IMDbPage How much of Count Basie's work have you seen?

User Polls 2015 All Things Must Pass: The Rise and Fall of Tower Records (Documentary) (performer: "Red Bank Boogie") / (writer: "Red Bank Boogie") Agent Carter (TV Series) (performer - 1 episode, 2015) (writer - 1 episode, 2015) - Bridge and Tunnel (2015) ...

(performer: "Jumpin at the Woodside") / (writer: "Jumpin at the Woodside") 2013 42 (performer: "Did You See Jackie Robinson Hit That Ball?") 2012/I Gambit (writer: "One O'Clock Jump" - as William Basie) 2012 Ginger & Rosa (performer: "L'il Darlin") 2012 Paris-Manhattan (performer: "Back to the Apple') / (writer: "Back to the Apple' - as William basie) 2005-2012 Independent Lens (TV Series documentary) (writer - 2 episodes) 2011 The Music Never Stopped (performer: "Kansas City") 2010 BBC Swingin' Christmas (TV Movie) (writer: "One O'Clock Jump") 2009 Hugh Hefner: Playboy, Activist and Rebel (Documentary) (music: "Blee Blop Blues" - as William Count Basie) 2009 An Education (writer: "One O'clock Jump") 2008 Nights in Rodanthe (performer:

 "Moten Swing") / (writer: "Jive At Five") 2008 Grand Theft Auto IV (Video Game) (performer: "April in Paris") Cold Case (TV Series) (writer - 1 episode, 2007) (performer - 1 episode, 2005) - World's End (2007) ...

(writer: "Jumpin' at the Woodside" - uncredited) - Colors (2005) ... (performer: "One O'Clock Jump") 2007 The War (TV Mini-Series documentary) (writer - 1 episode) 2007 State of Mind (TV Series) (performer - 1 episode) - Helpy Helperpants (2007) ... (performer: "Boogie Woogie (I May Be Wrong)") 2006 Click (performer: "With Plenty of Money and You" (1936)) 2005 Rush: R30 (Video documentary) (writer: "One O'Clock Jump") 2004 The Whole Ten Yards (performer: "Are You Having Any Fun") 2004 Paternal Instinct (Documentary) (performer: "Anything Goes") 2003 The Blues (TV Series documentary) (writer - 1 episode) - The Road to Memphis (2003) ...

(writer: "Goin' to Chicago Blues" - as William Count Basie) 2002 Confessions of a Dangerous Mind (writer: "Jumpin' at the Woodside") 2002 Frida (writer: "Jumping at the Woodside" - as William Count Basie) 2002 The Salton Sea (performer: "Brand New Wagon") / (writer: "Brand New Wagon") 2001 Pearl Harbor (performer: "Jumpin' at the Woodside") / (writer: "Jumpin' at the Woodside") 2001 61* (TV Movie) (performer: "The Kid From Red Bank") 2001 Amy's Orgasm (performer: "Hittin 12" - as Count Basie Big Band) 2001 Enigma (writer: "One O'Clock Jump" (1933)) 2000 The Thorn and the Rose (TV Series) (performer: "Tea For Two") 1997 Lolita (performer: "Royal Garden Blues") 1997 Out to Sea (writer: "Jump

in' at the Woodside" (1938)) 1996 The English Patient (music: "One O'Clock Jump" (1933) - as William "Count" Basie) 1996 Swingers (performer: "With Plenty of Money and You") 1995 Get Shorty (performer: "Are You Havin' Any Fun") 1995 The Grass Harp (writer: "ONE O'CLOCK JUMP" - as William Basie) 1995 The Tuskegee Airmen (TV Movie) (writer: "One O'Clock Jump") 1995 The Confessional (performer: "Dark rapture", "Blue and sentimental") / (writer: "Blue and sentimental") 1994 Baseball (TV Mini-Series documentary) (writer - 4 episodes) 1975 Brother Can You Spare a Dime (Documentary) (performer: "Shout and Feel It" (1937)) / (writer: "Shout and Feel It" (1937)) 1973 Slither ("One O'Clock Jump") 196

6 Emma Zunz (Short) ("Blues Inside Out") 1964 Sex and the Single Girl (performer: "Anniversary Song", "What Is This Thing Called Love?") The Lively Ones (TV Series) (performer - 1 episode, 1963) (writer - 1 episode, 1963) - Episode #2.6 (1963) ...

(performer: "Nice Shot") / (writer: "Nice Shot") 1961 The Errand Boy (music: "Blues in Hoss' Flat" - uncredited) 1960 Startime (TV Series) (writer - 1 episode) - The Swingin' Years (1960) ... (writer: "One O'Clock Jump" - uncredited) 1957 Jamboree! (music: "One O'Clock Jump") 1957 M Squad (TV Series) (writer: "Theme From M Squad") 1957 The Nat King Cole Show (TV Series) (performer - 1 episode) - Episode #1.13 (1957) ... (performer: "Lady Be Good" - uncredited)

Question: 'One O'Clock Jump' was the theme song fro which jazz musician and his orchestra?
Answer: 'COUNT BASIE'